Fire is made up of three elements, such as heat, combustible materials and oxygen. Fire has heat and light. Fire is used in various activities in human life from cooking, lighting marriage and burning dead bodies. Fire is available in space, on earth, and in oneself. Symbolically the fi re is employed as a symbol of spirit, a sanctifi cation, a destruction, enlightenment, heating temperatures, fi re of romance, and fi re of revenge. Overheated is possible when someone ignores norms, ethics, and rules.Library studies, interviews, observations, and experiments are methods used in this article. Fire, both as symbol and text, functioned according to the capacity or its role, both in and outside themselves. The use of it must be controlled for the harmony of the macrocosms and microcosms, when is the right time is to use small, medium, and large fi re, because all of them is important. ABSTRAKApi terbentuk dari tiga elemen, yakni panas, bahan mudah terbakar dan oksigen. Api memiliki panas dan cahaya. Api digunakan dalam kehidupan manusia dari memasak, penerangan, perkawinan sampai pembakaran jenazah. Api terletak di angkasa, di bumi, dan dalam diri. Api dijadikan simbol semangat, penyucian, peleburan, pencerahan, api asmara, api dendam. Panas (over heated) berlebih terjadi ketika seseorang tidak lagi mengindahkan norma, etika, aturan.Studi kepustakaan, wawancara, observasi, dan eksperimen merupakan metode yang digunakan dalam tulisan ini. Api, baik sebagai simbol maupun teks, difungsikan sesuai kapasitas/perannya masing-masing, baik dalam diri maupun di luar diri. Penggunaannya hatus dikendalikan agar keharmonisan bhuana alit dan bhuana agung dapat terwujud, kapan menggunakan api kecil, sedang maupun besar, karena semuanya penting. Kata kunci: fungsi, api, simbol, harmoni Panggung Vol. 28 No. 2, Juni 2018 201 PENDAHULUAN Api atau agni adalah salah satu unsur terpenting dari tradisi budaya Bali. Masyarakat Hindu di Bali, yang memandang api sebagai benda biasa (sekala) dan agni sebagai perwujudan kekuatan suci (niskala), menggunakan api dalam berbagai aspek kehidupan spiritual, sosial, dan kultural. Semuanya ini menunjukkan betapa vitalnya budaya api dalam tradisi Bali. Pengalaman dan penjelajahan terhadap budaya api di kalangan masyarakat Bali menunjukkan betapa sentralnya api dalam kehidupan masyarakat Pulau Dewata. Dalam kehidupan spiritual, api digunakan pada pelaksanaan dari kelima bagian upacara Panca Yadnya masyarakat Hindu di Bali, yakni Dewa yadnya, Pitra yadnya, Manusa yadnya, Rsi yadnya, dan Bhuta yadnya. Hampir tidak ada upacara yadnya yang dilaksanakan umat Hindu di Bali tanpa melibatkan api, di antaranya dalam bentuk dupa, pasepan, dan api linting. Dalam kehidupan sosial sehari-hari, api juga menjadi kebutuhan masyarakat. Selain untuk memasak dan menghangatkan badan (di kala musim dingin), api juga masih sering digunakan untuk membersihkan lahan-lahan pertanian di sawah. Untuk melindungi warga masyarakat, awig-awig atau peraturan tertulis setiap desa di Bali juga mencantumkan pasal-pasal (pawos) yang berka...
Nusa Penida merupakan kecamatan di dareah pesisir di Kabupaten Klungkung Bali yang banyak dikunjungi wisatawan nasional maupun internasional dan terkenal dengan mata pencahariannya berupa budi daya rumput laut dan kerajinan kain rangrang. Penelitian ini bertujuan menciptakan sebuah tarian yang mengangkat potensi SDA rumput laut dan kerajinan kain rangrang di Desa Nusa Penida Kecamatan Klungkung Kabupaten Klungkung Bali sebagai upaya pengembangan atraksi wisata di desa tersebut. Teknik pengumpulan data dilakukan dengan observasi, wawancara dan dokumentasi. Metode penciptaan tari ini dilakukan melaui tahapan eksplorasi, improvisasi, dan pembentukan. Dalam proses penciptaannya melibatkan publik sebagai penilai untuk penyempurnaan karya yang dilakukan melalui FGD dan pementasan. Hasil penelitian menunjukkan tercipta sebuah tari pesisir yang berdurasi 8.14 menit, diberi judul Tari Gulma Penida. Tarian ini dibawakan oleh 4 orang penari laki-laki dan perempuan sebagai penggambaran petani rumput laut di Desa Nusa Penida. Pada tarian ini ditampilkan kisah keseharian petani rumput laut dalam melakoni aktifitasnya mulai dari bangun pagi, pergi kelaut, menanam, merawat, memanen, dan membawa pulang hasil panennya dan menikmati kegembiraan atas berkah yang dilimpahkan oleh Tuhan Yang Maha Kuasa. Kain rangrang dalam penciptaan tari ini digunakan sebagai kostum untuk menggambarkan potensi sumber daya yang ada di Nusa Penida.
The empowerment of the Ratu Kinasih studio through the Gulma Penida dance training is expected to be able to enrich the types of dance that previously existed in Nusa Penida and can also be presented as entertainment to tourists visiting Nusa Penida. The benefit of this program is that it can channel creativity; increase knowledge and skills of dance art; promote more interesting traditional dances with meaningful movements from the potential of local wisdom that has never been published; and be an attraction for foreign and local tourists. Empowerment of the Gulma Penida dance was carried out in Lembongan Village, a coastal area with the local wisdom of cultivating seaweed that has been practiced for a long time. Besides that, Nusa Penida is also known for its woven cloth crafts made by residents in Karang Ampel Village. The two potentials in Nusa Penida, namely the potential for seaweed farming and the craft of woven cloth, have been used as a source of ideas in the creation of the Gulma Penida dance. The implementation of this empowerment was carried out from April to August 2022. The empowerment program participants totaled 12 people. From this empowerment program, the result shows that students are skilled at dancing the Gulma Penida dance and can promote the Gulma Penida dance.
The various extent of publications by Tejakula Wayang Wong (literally Human Wayang) indicates the conservation efforts of art observers who jointly maintain this tremendous cultural heritage conforming to their respective capacities.Pengempon residents perform this art performance as sincere and earnest offerings to the Almighty for the abundance of His Blessings. In Bali, there are types of Wayang Wong, e.g., Wayang Wong Parwa and Wayang Wong Ramayana. The Wayang Wong Parwato the play from the epic Mahabharata, while Wayang Wong Ramayana took the play from the epic Ramayana. The emergence of the Wayang Wong dance-drama in Bali is estimated when Balinese artistic life experienced its peak of glory during the reign of Dalem Watu Renggong. It is estimated that artists such as I Dewa Batan from Bunutin Village (Bangli) brought the Parwa dance around the XVII- XVIII centuries, and I Gusti Ngurah Made Jelantik from Blahbatuh Village (Gianyar) brought the Gambuh Dance.These two artists create Wayang Wong's performance art in Tejakula Village. How can this Wayang Wong drama dance still exist and even become a tourism attraction? What are the residents doing to maintain this cultural heritage?These questions become the trigger to find out the answers through interviews, watching live performances, and literature studies to find references as supporting data for this article. Community participation in the owners is the main determining factor for the sustainability of this Wayang Wong dance drama. The district and provincial governments' customs, attention, and motivationtrigger the growth of new awareness for the millennial generation to love their own culture.People's dedication is very high and no doubt because their offerings are not measured financially, but the satisfaction for being able to pray and their own pride because their family witnesses it, children, wives, grandchildren and even very possibly by their own parents. Wayang Wong is regarded as intangible cultural heritage is the correct and precise act to appreciate and motivate its sustainability.
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